#shelter by lyves

[kaitlinj16]

"I’ve been stable, runnin’ to an open heart,

See me crumble, crumblin' is just a start," -Lyves, "Shelter" 🍂

[kiikslovewe]

Just keep breathing Just keep breathing Breath in Breath, breath please Now breath out Keep going Don't skip a beat please Push, just keep pushing I promise you're okay I promise, just keep holding on Hold my hand Squeeze when you feel unsure Squeeze when you feel pain Just keep holding on I promise you're okay I promise to keep you safe I promise to keep both of you safe Hold on by.kiikslovewe

[dwellordream]

“…When the two lovers meet after Parliament's decision, Criseyde offers Troilus the opportunity to "ravish her" as her uncle has suggested. She begs for his aid, crying "Help, Troilus!" (IV, 1150) and falling into a dead faint. For once, she wishes that another would take control and make decisions for her. Not realizing that Troilus has relapsed into an impotent, emasculated state, Criseyde expects him to interpret successfully her intent and to act boldly in order to rescue her from her terrible plight. Troilus, however, is no longer the valiant, empathetic young man transformed by Criseyde's love; consequently, he fails to play the role of the manly hero. He does not seize this moment to carry the maiden off; instead, he convinces himself that she has died and poetically beseeches the heavens to hasten his own demise (IV, 1191-1211).

His behavior contrasts greatly with Criseyde's when he had fainted. She roused herself to action, doing all in her power to revive her lover, who, like Criseyde in this later scene, seemed at the precipice of death. Criseyde begins to argue eloquently upon the advantages of biding her time behind enemy lines only after she awakes to discover that Troilus has not heeded her cry for help. A careful reader would recognize, how ever, that she still yearns for her lover to prevent the exchange, for she interrupts her own argument to assure Troilus "what so ye me comaunde,/ That wol I don, for that is no demaunde" (IV, 1294-95). In arguing in favor of removing to the Greek camp, Criseyde tests the extent of Troilus's affection. …Criseyde thought that surely a man willing to slay himself for her would be willing to risk ruining his reputation for her love, but Troilus finds himself incapable of performing such a heroic feat.

When Troilus fails to make even the slightest attempt to rescue his ill fated lover, Criseyde realizes that she must bring about her own salvation. As she spins out her plan, she gains more confidence in her abilities to effect her own rescue. Sheltered within the walls of Troy, Criseyde knows little of the true horrors of war, only what she has gleaned from gossip and from the books that she has read in her cloistered garden. Her overconfidence stems both from her ignorance concerning the actual situation facing her nation and from her earlier successes in effecting her will.

In contrast, Troilus has been out in the trenches, and he should recognize the implausibility of Criseyde's plan of action. His attempts to dissuade her, however, seem half-hearted at best. Indeed, he feels relieved that she seems to exonerate him from taking any rash action, for such a view accords with his own and enables him to rationalize his impotence as simply a chivalric attempt to uphold his lady's desire: This Troilus, with herte and erys spradde,/Herde al this thyng devysen to and fro,/And verrayliche him semed that he hadde The selve wit. . . (IV, 1422-25) Although Troilus finally does argue with Criseyde that they should elope (IV, 1503), he does so only to determine the extent of her loyalty, for he beseeches her "That of hire heste he myghte her trewe fynde" (IV, 1439).

For nine stanzas he dwells on his potential desolation should Criseyde forsake him and displays little concern as to whether she might suffer from the trade as well (IV, 1436-98). He does not want Criseyde to abandon her plans but only to assure him that she will remain stead fast in her love for the Trojan prince. Troilus now behaves like Percival's maid, arguing against his lover's bold plan only to make her more resolved to carry it out. He succeeds, for Criseyde dismisses his worries, assuring him that she can achieve all that she has set out to accomplish. Thinking of the state of her city that "hath now swich nede / Of help" (IV, 1558-59), she chides Troilus for wanting to abandon his home, reminding him that he plays a vital role in his city's defense.

Concern for his city, however, does not motivate Troilus in his insistence that he and Criseyde run off; rather, his hesitancy to allow her to leave stems from his hitherto unwarranted fear that Criseyde will prove untrue. After Criseyde's eloquent argument, which included an impassioned declaration that she would remain constant in her love (IV, 1527-54), Troilus still asks her to leave with him: "But for the love of God, if it be may,/So late us stelen priveliche away;/For evere in oon, as for to lyve in reste,/Myn herte seyth that it wol be the beste." (IV, 1600-1604)

After listening to this plea, Criseyde finally experiences an awakening, realizing that her lover does not hold the values that she herself cherishes. She recognizes his plea stems only from jealousy and not from any noble concern for her or for their country's grave situation. Sighing with exasperation, she once again defends herself against the charge of infidelity: "I se wel now that ye mystrusten me, For by youre wordes it is wel yseene./Now for the love of Cinthia the sheene, Mistrust me nought thus ca?seles, for routhe,/Syn to be trewe I have yow plight my trouthe." (IV, 1606-10)

Criseyde now recognizes that Troilus, who had shunned jealousy during his earlier blissful state (III, 1805-6), has relapsed into a suspicious suitor, one who holds little faith in his love's sincerity. He has forgotten that the last time he questioned Criseyde's trustworthiness he nearly lost her favor (III, 1054-85). Troilus's hypocrisy at Criseyde's departure serves only to alienate her further and to make her resolve to return to Troy begin to evaporate. The Trojan prince not only refuses to heed Pandarus's advice and openly declare his love; he also feigns joy at the arrival of Antenor (V, 77). Even if he believed that openly expressing his love for Criseyde would imperil her, he need not seem joyous concerning the exchange. Criseyde does not mask her emotions so easily but instead weeps piteously as Diomede leads her away (V, 82). She feels distraught not only because she must leave Troilus and Troy but also because she now recognizes that she has misread her lover's nature.

Troilus's behavior undercuts the narrator's contention that the young prince refuses to act only because he fears some harm may befall Criseyde: But why he nolde don so fel a dede,/That shal I seyn, and whi hym liste it spare:/He hadde in herte alweyes a manere drede/Lest that Criseyde, in rumour of this fare,/Sholde han ben slayn; lo, this was al his care./And ellis, certeyn, as I seyde yore,/He hadde it don, wi thou ten wordes more.(V, 50-56) These assurances concerning Troilus's desire to behave valiantly seem to reflect anxiety on the part of the narrator, who suspects, perhaps, that he recounts not the tale of a hero but of a coward.

W. A. Davenport believes Troilus's poetic apostrophes to his lost love as he waits for her in Troy indicate that the young prince's despair is primarily a pose. Troilus's letters also reveal that he continues to play a role. These solipsistic missives to Criseyde seal his fate, for they leave no question that Troilus remains a courtly lover. He does not consider the needs of his auditor, for instead of tender, solicitous queries concerning the hardships she must have endured, he stresses his own affliction. Cox comments that "Troilus sings of his woe with little regard for Criseyde, . . . and his letter, . . . full of fin’amors platitudes, blames her for going to the Greeks."

As in Book I, where he allowed his misery to paralyze him, Troilus has succeeded in making himself overwrought. It is as if the communion he experienced with Criseyde in Book III never occurred, for the Trojan prince once again acts like the lovelorn suitor of a lady he scarcely knows, whom he can address only in the most artificial, contrived manner. Troilus pens his letter ostensibly to convince Criseyde to return to Troy. Such a demand, however, is absurd, and he knows it. He, who remained completely passive while the Trojans forced his love to leave, now expects Criseyde to risk her life by rushing across the battlefield to return to him. Even if she succeeded in reaching Troy, Troilus knows his father would send her back to the Greeks.

Troilus does not really expect Criseyde to reunite with him; rather, he expects her to behave like a proper lady and die for her love. One can speculate that he wants her to act like the nondescript tragic heroines in the Legend of Good Women, to pine away like Ariadne or to commit suicide like Dido. Such behavior would prove a fitting end for the object of Troilus's desire, enabling him to compose tragic lays about the death of his beautiful, beloved dame. Criseyde sees through Troilus's importunate letter, and, instead of playing the expected role of the bereft lady, she assumes the role of a courtly lover herself. As Davis notes, "when his [Troilus's] thou becomes an it, it rightly opts out." Criseyde might have risked her life or wasted away for the valiant Troilus of Book III, but she deems this poseur unworthy of such deep, abiding affection.

John McKinnell contrasts the structure of Criseyde's letter to Troilus's, noting that her epistle flows eloquently and follows the rules of artes dictamen. Criseyde's controlled prose reflects her nature; she will determine her own actions and certainly will not be dictated to by a man whose own convoluted letter displays an utter lack of composure or self-discipline. The time for impulsive behavior on the part of Troilus has passed. He should have displayed such passion when Criseyde was taken from him; he should have acted rashly when such behavior would have proved effective. Now his raving falls on deaf ears, and his former lover tersely retorts "Nor other thyng nys in youre remembraunce, / As thynketh me, but only youre plesaunce" (V, 1607-8).

In abandoning Troilus and accepting Diomede's suit, Criseyde behaves like a male lover jilting a woman with whom he has grown weary. Criseyde knows that men behave in this manner, for prior to accepting Troilus's advances, she complains about the faithlessness of men: "ek men ben so un trewe,/That right anon as cessed is hire lest,/So cesseth love, and forth to love a newe./But harm ydoon is doon, whoso it rewe:,For though thise men for love hem first torende,/Ful sharp bygynnyng breketh ofte at ende."(II, 786-91) Criseyde follows the consummate courtly lover's, Pandarus's, advice to Troilus, an act that leaves both uncle and lover astounded. Her behavior provokes Pandarus's violent exclamation "I hate, ywis, Cryseyde; / And, God woot, I wol hate hire evermore!" (V, 1732-33), as well as his wish that she will die soon, a desire to which Troilus, by not gainsaying, seems to give his silent assent.

Criseyde's unconventional behavior confounds the narrator as well. He cannot quite grasp why she gives Diomede Troilus's brooch, for instance, despairing that there "was litel nede" for such a deed (V, 1040). The narrator cannot admit that Troilus deserves to be abandoned by Criseyde, for to do so would be to recognize that he has recounted the story of a dithering, self-consumed man. By giving Diomede her brooch, Criseyde sends Troilus a clear message that no matter how much he rants and raves she no longer will accommodate his desires. She lets him know that not only does she refuse to return to Troy; she also refuses to waste away for love of him. Criseyde never wanted to involve herself in an affair constrained by the rules of courtly love, and she takes up with a new lover, who, like her, eschews such conventions.

Diomede's desire for Criseyde does not emasculate him, and he never complains of her cruel heart or hints that she causes him great pain. Instead, he treats her as his equal, engaging her in an intellectual conversation concerning the siege and seeking her opinion about the war: He gan first fallen of the werre in speche Bitwixe hem and the folk of Troie town;/And of th'assege he gan hire ek biseche To telle hym what was hire opynyoun. (V, 855-58) Diomede understands Criseyde's nature, for he recognizes that she is a woman interested in much more than silly love games. Instead of harping about himself, as Troilus tends to do, Diomede at least feigns empathy for Criseyde's plight, telling her he has noticed her sorrow and wondering if she laments a lost love (V, 871-82).

His concern indeed may be motivated merely by lust, but compared to Troilus's self pitying posturing, it strikes the Trojan beauty as a welcome change. In Criseyde's estimation, Diomede now seems much closer to the ideal she seeks than the Trojan prince, for Diomede pretends at least to admire both her beauty and her intellect. Indeed, Chaucer hints that Diomede may prove a much better match for feisty Criseyde than the young, oversensitive prince. The poet reveals that the Greek warrior and the Trojan beauty share the same pragmatic philosophy. Determined to court Criseyde, Diomede reminds himself that "he that naught n'asaieth naught n'acheveth" (V, 784). His words echo Criseyde's own, who, while contemplating Troilus's suit, mused that "'He which that nothing undertaketh, / Nothyng n'acheveth, be hym looth or deere'" (II, 807-8). Troilus, significantly, does not subscribe to this self-sufficient view.

Readers should not scorn Criseyde for turning toward Diomede. After being so bitterly disappointed in Troilus, who proved himself incapable of transcending the conventional, Criseyde continues to believe in the possibility of attaining the ideal in love. She may not remain loyal to a man who has failed her, but she does remain loyal to the notion of a healthy, wholesome love, a love based on mutual desire and a meeting of minds. Her passion for Troilus has changed her; she does not revert back to the cynical young widow of Book II, who regarded love as little more than a trap set by men. For one fleeting moment, Criseyde found her affair with Troilus liberating, because it enabled her to express and to sate finally her own desires. She embarks on a relationship with Diomede yearning to recapture the bliss that she once felt with her Trojan prince. Diomede, she hopes, will prove a more worthy recipient of her stalwart heart.

Troilus also finds himself altered by his love affair with Criseyde, but his transformation occurs only after his death. His demise releases him from the courtly love conventions that he found impossible to escape while on earth. In Reading Lolita in Tehran, Azar Nafisi describes the metamorphosis that occurs when her female students remove their mandatory black robes in the sanctuary of their professor's apartment. Freed from these black garbs, symbols of the repressive Iranian regime, they indulge in the luxury of laughter. Upon his death, Troilus finds himself similarly released from the strictures of his society. He can now shed his pose as a courtly lover, and, looking at the world from his heavenly perch, he too can laugh, both at his weakness in constantly allowing the values of the majority to dictate his actions and at the temerity of the woman he once loved, who refused to do so.”

- Mary Behrman, “Heroic Criseyde.”

[viva-la-vi-da]

(https://open.spotify.com/track/2aN83Hx3KHKZnsT9ECRqY4?si=W_d40VY8QjSFDPBHA0Rkig gönderdi)

[barelybuckley]

by my heart by my body i love, but by my heart i cherish

// the love you have in you - absjørn // illusions - brielle von hugel // old pine - ben howard // my my my! - troye sivan // move together - james bay // shelter - lyves // falling for you - lyon hart // all i got - said the sky, kwesi // i’ll die - my double, my brother // midnight starlet - foy vance // let me down easy - max frost // like real people do - hozier // ava - famy // til my heart stops - too far moon // cliffs edge - hayley kiyoko // halfway house - the native // counting paths - matthew and the atlas // flightless bird, american mouth - iron & wine // runaway - aurora // to be alone - hozier // gravity - leo stannard, frances // one last night - vaults // paper houses - niall horan // bloom - the paper kites // heartbeats - josé gonzález // too deep - ritual, delilah // only you - parson james // take it back - jef miles, dom fricot // patience - low roar // i found - amber run // even the darkness has arms - the barr brothers // livewire - oh wonder // runnin’ - naughty boy, beyoncé , arrow benjamin // all is soft inside - aurora // shut out of paradise - slo // send me the moon - sara bareilles // love - daughter // outside - tender // candles - daughter // when it comes to us - frances, ritual //

a late christmas present for the lovely @damiaanos​ [listen on spotify here]

[hysteric-for-sterek]

Hauntingly Beautiful

A Sterek Playlist

1. Blood and Muscle by Lissie

2. Come Home by OneRepublic 

3. I Found by Amber Run 

4. Where’s My Love (Acoustic) by SYML

5. Dust to Dust by The Civil Wars

6. Give Me Tonight by Dustin Tebbutt

7. Shelter by Lyves

8. Oceans by Seafret

9. For Blue Skies by Strays Don’t Sleep

10. You Were Never Gone by Hannah Ellis 

11. Hurts Like Hell by Fleurie

12. Some Die Young by Gavin Mikhail

13. You by Keaton Henson 

14. There’s Something Dark by Dustin Kensrue 

15. It’s OK by Frida Sundemo 

16. Heartlines (Acoustic) by Broods

17. Peace of Mind by The Jezabels

All songs can be found on my Spotify Playlist

[ellie-bee242]

The Confession-Part 2

SO Y’ALL TOTALLY TWISTED MY ARM

Here, have the second and final part to this.

Part 1 - Part 2

@susybird gave me the prompt for this part, and I will bold the prompt but I don’t want to spoil the cuteness so it will not be featured up here in the notes lol.

Part 2: The Reply

Song rec: Shelter by Lyves

Word count: 1,092 words filled with cuteness

Warnings: Swearing (duh at this point), hospitals, quick mentions of needles.

Read the story with your name (and other info like eye/hair color!) by clicking here and downloading this extension!!!!

Scott waited anxiously in the entrance hall to the hospital. He tried hard to focus on any news of (Y/N) but he was too worried to tune in properly, and the hospital was full of voices and noises which made it more difficult.

“Scott.” His mother’s voice called, and his head shot up, his eyes searching hers as he stood up. She gave a tired sort of smile and nodded at him and he felt his body sag with the relief of the unspoken news.

“Tell me everything.” He begged.

“She’s okay, they’ve got her stabilized and they’ve stitched her up. Her paralysis is mostly gone, just lingering in her fingers and toes.” Melissa informed him.

“Thank you mom.” He hugged her tightly, and she wrapped her arms around him in comfort.

“I’ll take you to her if you want.” She offered.

“Are you allowed to?” Scott asked, worried.

“You need to see her. I’m saying it’s allowed.” She insisted before she led him down the hall, heading for (Y/N)’s hospital room.

“Is she awake?” Scott asked.

“Barely. She’s extremely tired from the anesthetic and the loss of blood.” She explained. “The doctor wants to sedate her and I told them I’d do it. So unfortunately you only get about five minutes to talk to her before I have to give her the sedative.”

“That’s okay. I didn’t think I’d get that much.” He admitted quietly.

“She’s stubborn Scott. She’s a survivor.” Melissa smiled, squeezing his arm before opening the door for him. He walked into the room and his eyes immediately tracked the movement of (Y/N) shifting around uncomfortably on her bed.

“You’re okay.” He breathed. He knew, logically, that his mother hadn’t been lying but seeing was believing most of the time. And to see her, pale, but moving, and breathing, and to hear her heart beating strong again.... He couldn’t describe the relief he felt as he rushed to the side of the bed and took her hands in his.

“Scott.” She smiled, taking hold of his fingers.

"You scared me." He whispered, pressing her hands in both of his, and bringing them up to his mouth so he could kiss them softly. "Don't ever do that again!"

"Oh I don't know..." (Y/N) chuckled weakly, wincing when the movement tugged at her stitches. "Almost dying was a ton of fun. The adrenaline was a head rush, honestly you should try it!" He gave her a un-amused glare, his brow furrowed. She sighed. "Okay I won't do it again.” She promised softly.

“Good. If you die, I swear, I’ll kill you.” He warned. She mimed gasping, since an actual gasp would have hurt.

“The mighty Altruistic Scott McCall, threatening to kill lil ole me?” She teased.

“I’m serious. I thought I lost you. You have no idea how terrified I was.” His expression showed the pain he’d gone through at the mere thought of losing her.

“Alright. I promise I won’t die until after you.” She assured him.

“You can’t make that promise.”

“I can too. Put me in a bubble.” She smiled when he did.

“No bubble needed. But I might not let you out of my sight for a while.” He warned her.

“Promise? I love the attention.” She winked and he finally chuckled.

“I love you, (Y/N).” He lifted a hand to brush a few stray hairs off of her cheek and she leaned into the touch.

“I love you, too, Scott. And I’m not going anywhere. You’d be useless without me.” She murmured.

“No disagreements there.” He smiled.

“Good, you’re learning the most important lesson.”

“And what’s that?”

“That I’m always right. Even when I’m wrong, I’m right.” She grinned when he laughed. “Now come here and kiss me already.” She demanded. He happily got up from the small chair he’d sat in and leaned over the side-rail of the bed to press his lips to hers. He moved to pull away but her hand grabbed a fistful of his shirt and she pulled him back down. “Kiss me for real McCall.” She smiled.

“Your stitches-”

“Can’t even feel ‘em.” She promised with a minute shake of her head. Her heart beat was steady so he was inclined to believe her. He smiled and pressed a deeper kiss to her lips, and heard her hum happily against his mouth.

“Scott, I have to give her the sed-” Melissa stopped when she saw her son quickly jerk away from his girlfriend. “Sorry. I have to sedate her.”

“What, why? I was asleep enough for my stitches!” (Y/N) huffed indignantly.

“You heal faster if you’re not straining your body. It’s only for the night.” Melissa assured her.

“But I want to stay awake.” She glanced over at Scott quickly and he squeezed the hand he still held.

“I have to.” Melissa said apologetically. (Y/N) sighed and nodded.

“But he stays.” She said quickly.

“You’re not supposed to have visitors yet.”

“He can hear anyone coming! He’ll hide!” She said quickly.

“I’d really like to stay, mom.” Scott pleaded.

“Ugh fine. But if you get caught, you snuck in on your own, got it?” Melissa sighed.

“Got it. Thanks mom.”

“Yeah, thanks mamma McCall.” (Y/N) chimed in. The nurse rolled her eyes and came over to insert the needle into her IV.

“It’ll take effect within a minute. Keep the good nights short okay? Don’t try to fight this.” She said as she pushed the plunger down until the needle was empty. She capped it and then tossed it in the hazards bin before leaving the room.

“Come here.” (Y/N) demanded quickly.

“You’ve only got a minute-”

“I know, that’s why you need to get on the bed now. I want you to hold me. I always sleep better that way, you know that.” She insisted. Scott could hardly tell her no, he wanted the physical contact just as much.

“Alright, alright. Scoot over carefully.” He helped her rearrange on the bed and went around to climb in beside her. He got situated and then let her lean her torso back against his, resting half under her. “You okay?” He asked.

“Yes. Absolutely fine.” She mumbled sleepily as she tucked her head against his shoulder. He kissed her temple and smoothed her hair from her forehead.

“Sweet dreams, (Y/N).” He murmured.

“Allison.... said hi.” She mumbled just before falling asleep. He stared at her in shock.

“You saw Allison?” He asked, but the only answer he got was the steady beat of her heart and her soft slow breathing.

Tagged: @amethystmerm4id, @fillthevoid-stilinski, @susybird, @sumcp

[maladaptivemind]

My Favorite Songs For Sad Daydreams

Shelter - Lyves

Our Cornor of the Universe - K.S Rhoads

Breathe Me - Sia

By the River - SayWeCanFly

In Love With a Liar - Grean or Blue

Boston - Augustina

Snow in Newark - Ryan Hemsworth

Sanctuary - Paradise Fears

Antichrist - The 1975

Youth - Daughter

[charliebattinson]

30, 24, 10 & 1!! Xoxox🌹❤️

love you honeybee xx

30. three songs you really want your followers to know (for reasons other than all those above)

1. touch by shura

2. lyves - no love

3. lyves - shelter

24. three favourite old songs

1. Hand in My pocker by alanis morisette

2. every breath you take by the police

3. shy guy by diana king

10. three favourite Halloween/spooky songs

1. HOCUS POCUS SOUNDTRACK

2. Thriller by Michael JAckson

3. Closer by Nine Inch Nails

1. three songs that come up when you put your phone on shuffle

1. Bad at Love by Halsey

2. Begging by Dua LIpa

3. Pineapple Skies by Miguel

[thedegenerateasexual]

do NOT laugh at me i am doing this to please myself, future me will appreciate me remembering

(ETA: this is a spoiler-free mini-soundtrack to anchor, a fanfic i wrote about chris and derek.)

part 1:

hozier - arsonist's lullabye: first scene after the prologue (this is what plays in canon yeah that's right my otp shared a frame of screen time when hozier was playing)

snow ghosts - the hunted: derek dozing off and dreaming by the fire

novo amor - anchor: the bike race

low action - everything will float just out of range: chris and derek by the fire at the end

part 2:

novo amor - anchor (ed tullet remix): derek talking about how he reached the full shift

ólafur arnalds - Þú ert jörðin: talking about victoria

glass face - holland: derek wakes chris from a bad dream

part 3:

kaleo - way down we go (stripped mix): a cave in the hills

glass face - holland: derek checking out chris's scars

novo amor - anchor (ed tullet remix): derek talking about his anchor

beyonce - haunted (instrumental): derek comes back to the motel room

part 4:

cousin marnie - cain: confrontation with kate

woodkid - iron: derek gets into a fight

ruelle - take it all: chris declines a suggestion

mona - stand by me: chris tells derek a story

cousin marnie - cain: a fight in an old cabin in the woods

spc eco - under my skin: chris waking up from being unconscious

lyves - shelter: last sex scene

novo amor - anchor: ending scene

[diana-cartwright]

name a song that resonates with you and your emotions. explain the reason why.

I don’t know, I really like Broods “Taking You There” or maybe Seavera “Caving” or maybe Lyves “Shelter” right now. Amongst many other songs.

[elentiyaah]

Lyves - Shelter

[flashofclarity]

Shelter.

Bring me quiet, bring me into SHELTER

Show me loving, show me what you want from me 

and I'll cover you!

See you stopping, why you're running so afraid?

You let me down,

And I breathe heavy for your love

But you're standing, you're standing

And I breathe heavy for your love

But you're standing, you're standing

How you treat me, how you let me fall apart

I've been stable, running to an open heart 

LYVES, Shelter.

[dirtysoul2thee]

#NowPlaying Shelter by Lyves